Voice of Silence: Lipunan 101, an Art Exhibit

Art is often seen as a mere feast for the eyes, something designed to entertain and please. In Philippine history, this perception was reinforced during Spanish colonization, when artistic expression was largely confined to religious imagery and used as a tool of the Church rather than as a vehicle for cultural or political expression. During the American period, art was steered toward Western aesthetics, often downplaying indigenous forms and national identity.

Yet Filipino art has always carried more than a visual. The T’nalak, a sacred cloth woven by the T'boli women of South Cotabato, embodies dreams and spiritual heritage passed down through generations without the need for written language. During the Marcos dictatorship, visual artists used their craft in resistance, creating protest art, political cartoons, and subversive murals that spoke out despite the threat of censorship and arrest. From revolutionary paintings to the protest banners of the 1970s, art has consistently served its purposes beyond aesthetics. 

It shows that silence can carry weight, and beauty can deliver truth. Knowledge can be imparted, identities preserved, and resistance made visible, all without a single word.

Sometimes, the loudest cries are painted, not spoken. 

This May, in celebration of National Heritage Month 2025, the City of Naga in the Bicol Region expressed itself not through speeches or slogans but through an artistic movement that brought together canvases and crafts as both medium and message.

At the heart of this movement was Lipunan 101: Ang Tayo sa Ngayon, the fourth installment in the five-part exhibit series of Art in the Plaza. Held at Plaza Rizal from May 1 to 15, the exhibit transformed a portion of the city’s public square into a visual forum. Artworks, installations, and mixed-media pieces explored the complex realities of contemporary society. Here, art was not curated to be quiet. It was created to speak. 

Behind Lipunan 101 lies the collaboration of around 20 art groups, organizations, plant and gardening businesses, and local fairs, embodying the vibrant identity of Bicolanos and extending beyond the Nagueño community. 

More than a display of creativity, the exhibit sought to reflect on the roots of societal issues, such as poverty, disinformation, environmental degradation, corruption, and abuse of power. It invited the public to view art not merely as decoration but as awareness and response. Each piece challenges viewers to reflect, question, and engage.

Some individuals remained present throughout the exhibit’s 15-day run, engaging directly with viewers as they reflected on each piece. Among them was Carlo Patac, a member of the Bicol Artists Tribe, who helped amplify the voices behind the visuals. As both a participating artist and lead organizer, Patac helped in shaping Lipunan 101 into more than a showcase of aesthetics. It became a platform for critical conversation.

“Malaking bagay ‘yong may mga exhibits na nasa public areas, may pagkakataon kaming mga artist na direktang makipag-usap sa mga tao, to talk about the why's and how's of the artwork... we try to simplify art descriptions para mas madali ma-interpret,” Patac explained, highlighting the value of bringing art into a more accessible spaces.

His presence at the exhibit was more than logistical. It was an act of personal and collective commitment, driven by passion despite exhaustion and limited recognition.

"I always follow my passion kasi, minsan kahit nakakapagod talaga, tuloy-tuloy lang sa paggawa ng artworks at pag-organize ng exhibits," he shared. 

"One small effort at a time, might as well do something that could help the sector and the community, kesa namang walang ginagawa at naghihintay ng kapalit na biyaya,” he added.

This conviction framed Lipunan 101 into more than just another public art display, it became a living and breathing learning space.

"’Yong Lipunan 101: Ang Tayo sa Ngayon, ito siguro ‘yong exhibit na nabigyan ng boses ‘yong mga artist dito sa Naga City, para masabi at maipakita ‘yong mga bagay-bagay na nakikita namin sa komunidad," Patac reflected, looking back to why they have organized the exhibit. 

"Things that we need to tackle in our community, not as individuals but as a whole. Issues we choose to ignore but greatly affect our community,” he said. 

For Patac, the goal was to awaken a public that had grown tired or indifferent. 

“Bilang isang responsableng mamamayan, dapat meron tayong pakialam sa mga nangyayari sa komunidad. Hindi tayo dapat na tahimik lang sa issues,” he said.

Through this, Lipunan 101 became a kind of syllabus, one that teaches collective responsibility through artists’ brushstrokes.

The theme of the exhibit was not a stranger to Patac’s journey. Even his childhood found its way onto the canvas. 

One of the works on display, “Disinformation is Cancer,” is a mixed-media painting on a box-type canvas completed just days before the May 2025 midterm elections. Visually arresting and politically charged, the artwork reflects on how disinformation spreads through social media, state platforms, and manipulated narratives, affecting communities deeply. 

But the technique behind the piece tells an even more personal story.

“Growing up in a low-income family, kailangan madiskarte ka, kaya nahilig ako magtago ng small things na napupulot ko sa daan,” Patac shared, recounting how bits of trash, and found objects became part of his everyday life and eventually, his art. 

The habit of collecting was born from necessity, but it evolved into a creative and larger social commentary. This art technique also aims to educate people that we are in the critical stage of improper garbage disposal and poverty. In Patac's way, he believes through his artworks, he can contribute to the efforts of lowering waste and motivating people to recycle.

This piece reveals a version of society that goes beyond grand structures and scenic views. It delves into the everyday and often overlooked details of survival.

Whether shaped by ancient Filipino hands or crafted from childhood’s soiled palms, Filipino art has always carried the intent to preserve legacies and empower communities. 

Carlo Patac and the entire Lipunan 101 team are just a few among the thousands of Filipino artists who speak through their work. The exhibit may have come to an end, but the stories it told and the questions it raised will continue to echo.

The celebration for the National Heritage Month may be over, but hopefully we look beyond the colors on the canvas. May we learn to listen not just with our ears, but also with our eyes, our histories, and our shared realities. 

Indeed, there is more beneath what is unspoken — a voice within silence.